Netflix’s ‘Malcolm and Marie’ fails to meet expectations
Photo courtesy of LEVEL
The new Netflix original movie “Malcolm and Marie” was released Friday, Feb. 5. The film, written and directed by Sam Levinson, starred John David Washington and Zendaya as the titular characters. An executive producing credit is given to the latter, while a lot of creative direction and leeway was given to the two.
The trailer makes this movie look amazing, but unfortunately looks can be deceiving. The movie starts on a high note, with an intimate setting and an expository scene that magnificently builds up the tension. The banter is great, the exchanges are electric. However, shortly after about 30-35 minutes in, the film begins to fall flat. The couple argue back and forth in perpetuity, and even the harsh, triggering words lose their shock value. If one were to stop watching altogether after the first 35 minutes, they would serve to essentially see the entire plot of the film.
After toiling around endlessly, the movie throws in several different topics to galvanize the action, yet this too falls short. It brings up themes of love, creative inspiration, privilege, abuse, neglect and the critiquing of art. The main problem is that these ideas are never explored or connected fluidly. Instead, the audience is given an endless barrage of words with no real objective. There was a moment where Malcolm goes on a drunk, narcissistic rant for five uninterrupted minutes about movie critics and the Black creators in white Hollywood. This scene highlights the main issue of the movie; the rant, like most of the dialogue, was pointless. Granted, there is an air of realism in a meaningless rant, however it did not reveal anything more about the character the audience did not already know. It was a stylistic choice that could have been a moment of imaginative prose, effective social commentary or deep emotion, and yet featured none of the above.
The two main characters have their own issues, acting performances notwithstanding. Malcolm is unnecessarily callous and self-absorbed, as far too many men are in real life, yet this serves no function. On the other hand, Marie isn’t that much better, often coming off as aloof and petty. In the end there is no character to root for, there is not a main lesson to take away and save for a few pivotal moments there is not superlative acting on display.
The highlights of the film mainly rest with the cinematography. The choice to shoot in black-and-white, 35mm film gave greater depth to a film only starring two people and made up for some of the weaker elements. The camera work and the close-ups were also well shot.
The medium of a work of art matters. Depending on the intent and the audience, it may be the best way to try and communicate a message. “Malcolm and Marie” would be best served as a short play rather than an almost two-hour film.
One is allowed to make art for art’s sake, but this is not that. To most who have watched the intent here is clear: a riveting, thought-provoking film designed for awards season. It turned out to be only a little above average, if only for it being shot in black-and-white film and Zendaya’s final monologue.
